You might check out the notes for last week, as Henry G. Ley (important to get the "G" in there as there are other musicians in his family), who wrote the arrangement -- but not the melody -- for last week's anthem, also composed the arrangement of this Sunday's prelude, which is based on the hymn tune, "St. Columba", 645 in our hymnal. You know the tune well, and the words are a paraphrase of Psalm 23. At the Gospel, we will sing this text to another tune (663), which is harmonized in 4 parts.

We are pleased to welcome Otho Hoyte as guest organist this Sunday. The prelude will be a set of variations on the 15th-century Easter hymn, "O Filii et Filiae" (O sons and daughters), which is both 203 and 206 in our hymnal. The tune is known to most people. The variations are by the English composer and organist, John E. West (1863-1929), who grew up in a very musical family and, among other musical accomplishments, founded the Northeast London Academy of Music.

The tune for the prelude is "Holy Manna", familiar to many, The setting is by the American composer Lynn L. Peterson (b. 1962) currently teaching at Carroll College in Montana but, beside composing (and sometimes delving into jazz), she travels often for festivals and workshops.

The music for Palm Sunday of course follows the mood of the service and its readings, from the procession with palms and the singing of "All Glory, Laud, and Honor" (154), to the Gospel hymn, "O sacred head, sore wounded" (168), the famous music by Hans Leo Hassler harmonized by J S Bach; note that there are 2 different authors of the text.

The prelude for this 5th Sunday of Lent is a J.S. Bach setting of "O Man, Thy Grievous Sin Bemoan". It should be remembered that at one time these chorales were sung and that the various settings or variations were often played between verses or at other times in the service. There was more tradition in Germany (and other parts of the continent) than in England to write settings of hymns. As usual, I will play the actual choral first.

Peggy White will be playing the prelude this Sunday, comprising of 2 works. The first is the Dietrich Buxtehude "Nun Bitten Wir" (We ask the Holy Spirit). Buxtehude (1637-1707) was Danish., of the "North German School", and was one of the most important composers of the 17th century, influencing later composers such as J.S. Bach. The second piece is a James Pethel setting of the hymn, "Ah, Holy Jesus". Pethel is American, born in 1936, and for 37 years taught at Carson-Newman College; he also won many awards for composition.

We are pleased to have Otho Hoyte playing both the prelude and postlude this 3rd Sunday of Lent. The prelude is a setting of the hymn tune known as "Canterbury", tune by the famous English composer Orlando Gibbons (1583-1625), who was a sort of transition from the Renaissance Period to the Baroque period. This arrangement is by the English born Canadian, Healey Willan (1880-1968), who wrote operas, symphonies, and chamber music, but is best known for his church music. Some of his music can be found in our hymnal.

The Lenten prelude is a "Max" (shortened for several long names) Reger setting of a very melodious hymn tune "Come, Follow Me". Mr, Reger (1873-1916) was German and it was said about his music that "the counterpoint of Bach meets the harmonies of Schoenberg (1874-1951), who was famous for atonality and his "12 tone row" (which meant that a melody used every tone in the 12 tone octave. The harmonies and counterpoint of this prelude, however, are very easy on the ear! Our well-known opening hymn is 448 (first 3 verses), which as you will note is an 18th-century setting of a 15th-century Latin text.

Lent does not need to be a season that suffers musically; on the contrary, the choir will be providing hopefully even more inspiration than usual. What will be different is that near the beginning of communion there will be a second anthem or a solo (this Sunday a solo by Audy Walker), with the text printed for meditation following. There will be no communion hymns.

The prelude for Lent 1 is a set of short variations on the well-known hymn, "If thou but suffer God to Guide Thee" (635 in our hymnal), by the contemporary Robert Powell, still living in Greenville, SC. The original hymn and text by Georg Neumark dates back to the 17th century in Germany, as you may note.

The prelude for the last Sunday after Epiphany is a Dale Wood setting of the hymn, "Guide me ever, Great Redeemer". Mr. Wood (1934-2003), is known in some circles as one of the most important American church music composers of the 20th century, his music being most accessible and used widely by church musicians. The tune for this hymn is "Beach Spring", from the "Sacred Harp" (1844).

Our processional hymn is "The Church's one foundation", 525, tune by the well-known Samuel Wesley and text by Samuel Stone, both 19th century, making the hymn an important favorite for well over a century.

For this 6th Sunday after Epiphany the organ prelude is a J. S. Bach setting of the chorale, "We All Believe in One True God", the text being as follows: "We all believe in one true God, maker of the earth and heaven; The Father, Who to us in love hath the claim of children given. He in soul and body feeds us; All we want His hand provides us; Thro' all snares and perils leads us; Watches that no harm betides us; He cares for us, cares for us by day and night; All things are govern'd by His might."

Johannes Brahms (1833-1897) wrote little for the organ but wrote 11 chorale preludes the last summer of his life, most likely in memory of his dearest friend, Clara Schumann, who had passed on the year before. For this Sunday's prelude, I will play No. 7, "O God, Thou Faithful God", playing the actual choral first, which was harmonized by J.S. Bach.

Our processional hymn is a favorite, 518, "Christ is made the sure foundation". Note that. although the text is 7th century, the music was written by the famous English composer of the Baroque period, Henry Purcell, who also composed the day's postlude. Yes, this is the man who composed a number of "trumpet tunes" you know well.